Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum:  Cultural, Commentary, Remembrance, and Unity (open access)

Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity

The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960's in general can be found as well, such as quotations from the well-known song "We Shall Overcome." Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, "O Vos Omnes." My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio.
Date: May 2011
Creator: Davenport, Jennifer Tish
System: The UNT Digital Library
A Comparative Study of Two Single-Subject Keyboard Ricercare by Johann Jacob Froberger: Projections of Sixteenth-Century Practice Combined with Features that Forecast Baroque Practice (open access)

A Comparative Study of Two Single-Subject Keyboard Ricercare by Johann Jacob Froberger: Projections of Sixteenth-Century Practice Combined with Features that Forecast Baroque Practice

This study is focused on an analysis of two single-subject ricercare in the keyboard music of Johann Jacob Froberger and examines possible pathways to the development of the Baroque fugue. This dissertation is divided into three parts. Chapter I contains the purpose, significance of this study and composer, as well as characteristics of the seventeenth-century single-subject ricercar. Chapter II details and examines Froberger's two ricercare. Finally, a conclusion of this study is presented in Chapter III. Two appendixes are included in this dissertation: a list of the single-subject ricercare of Andrea Gabrieli, Giovanni Gabrieli, and Johann Jacob Froberger; and an analysis of the two single-subject ricercare, FbWV 407 and FbWV 409, by Johann Jacob Froberger.
Date: May 2011
Creator: Lee, WoongHee
System: The UNT Digital Library
A Pattern Oriented Data Structure for Interactive Computer Music (open access)

A Pattern Oriented Data Structure for Interactive Computer Music

This essay describes a pattern oriented data structure, or PODS, as a system for storing computer music data. It organizes input by sequences or patterns that recur, while extensively interlinking the data. The interlinking process emulates cognitive models, while the pattern processing draws specifically from music cognition. The project aims at creating open source external objects for the Max/MSP software environment. The computer code for this project is in the C and Objective-C computer programming languages.
Date: May 2011
Creator: Lockhart, Adam
System: The UNT Digital Library
Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte À Joujoux (open access)

Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte À Joujoux

Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children's Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children's piano music has been underrated and seldom performed. Children's Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel "views" from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy's use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique "children's wonderland."
Date: May 2011
Creator: Ko, Hsing-Yin
System: The UNT Digital Library
The Adagio of Mahler's Ninth Symphony: A Schenkerian Analysis and Examination of the Farewell Story (open access)

The Adagio of Mahler's Ninth Symphony: A Schenkerian Analysis and Examination of the Farewell Story

Mahler's Ninth Symphony, since its premier in 1912, has sparked much debate about its programmatic meaning. This thesis provides an in-depth analysis of the Adagio and an examination of the controversy of the farewell story. In the process of the analysis I have compared my findings to some of the important authors in Mahler's field such as Vera Micznik, Henry-Louis de La Grange, and Christopher Orlo Lewis. Some of the conclusions are that a closer investigation of the music is necessary and that the programmatic reading of the farewell story can be appropriate.
Date: May 2011
Creator: Patterson, Jason, 1982-
System: The UNT Digital Library
Epidemiological Evaluation of Pain Among String Instrumentalists (open access)

Epidemiological Evaluation of Pain Among String Instrumentalists

Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
Date: May 2011
Creator: Meidell, Katrin Liza
System: The UNT Digital Library
Dream of a Thousand Keys: A Concerto for Piano and Orchestra (open access)

Dream of a Thousand Keys: A Concerto for Piano and Orchestra

Dream of a Thousand Keys is a concerto for piano and orchestra, which consists of four movements presenting multiple dimensional meanings as suggested by the word "key." I trace the derivation of Korean traditional rhythmic cycles and numerical sequences, such as the Fibonacci series, that are used throughout the work, and explore the significant role of space between the soloist and piano that are emphasized in a theatrical aspect of the composition. The essay addresses the question of musical contrasts, similarities, and metamorphosis. Lastly, I cover terms and concepts of significant 21st-century compositional techniques that come into play in the analysis of this work.
Date: May 2011
Creator: Choi, Da Jeong
System: The UNT Digital Library
Nihilism and the Formulation of a Philosophy of Art (open access)

Nihilism and the Formulation of a Philosophy of Art

Nihilism is often associated with feelings of despair, hopelessness and meaningless. It is certainly true that once the implications of this philosophy become apparent that these feelings are valid. However, this reaction is merely the first stage of dealing with nihilism and stopping here fails to examine the various types of nihilism that deal specifically with knowledge, ethics, metaphysics, truth, and art. Nihilism at its base is a philosophy that recognizes the history of human thought and what it means to be and to think. My focus is the way in which a completed nihilism is in fact an emancipatory act and the implications it has for art and the artist in the 21st century.
Date: May 2011
Creator: Hernandez, Brian
System: The UNT Digital Library
A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone (open access)

A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone

Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.
Date: May 2011
Creator: Stoupy, Etienne Denis
System: The UNT Digital Library
An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut (open access)

An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut

Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.
Date: May 2011
Creator: Suen, Ming-Jen
System: The UNT Digital Library
Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn (open access)

Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn

The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).
Date: May 2011
Creator: Salisbury, Linda J.
System: The UNT Digital Library
"Do You Remember?": Remembering Gay Victims of the Holocaust Through Jake Heggie's Theater Piece, For a Look or a Touch (open access)

"Do You Remember?": Remembering Gay Victims of the Holocaust Through Jake Heggie's Theater Piece, For a Look or a Touch

American composer Jake Heggie's For a Look or a Touch exists as the only classical music work of remembrance based on the topic of remembering homosexual victims of the Holocaust. The composer, after being approached by Mina Miller, wrote this 2007 composition as part of the Music of Remembrance concert series. The music of this work varies in style from a blazing swing dance to a haunting vocalise on "oo." Gene Scheer created the text, delivered in the work by the characters Manfred Lewin and Gad Beck, as a compilation of many influential stories from the documentary film Paragraph 175. For a Look or a Touch chronicles the horrendous treatment of homosexuals before, during, and after World War II. Chapters include an introduction to homosexual persecution during Hitler's reign, a look at current works of remembrance and how For a Look or a Touch came to fruition, an explanation of the texts created by Gene Scheer, a discussion on Jake Heggie's musical setting of this text, and avenues for possible future research. Appendices include text of the German anti-sodomy laws as written in Paragraph 175, the mission statement for the organization Music of Remembrance, transcripts from personal interviews with both …
Date: May 2011
Creator: Rinaldi, Joseph Warren
System: The UNT Digital Library
A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance (open access)

A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance

The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting …
Date: May 2011
Creator: Yang, Yoon Joo.
System: The UNT Digital Library
Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part (open access)

Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
Date: May 2011
Creator: Walker, Brian Matthew
System: The UNT Digital Library
The Otha Turner Family Picnic: Occupying Musical and Social Space In-Between Saturday Night and Sunday Morning (open access)

The Otha Turner Family Picnic: Occupying Musical and Social Space In-Between Saturday Night and Sunday Morning

This thesis concerns African-American fife and drum band music, a pre-blues genre that was a fixture at summer picnics in the Mississippi hill country from the late nineteenth century through most of the twentieth century. The picnics held a unique place in African-American life, a crossroads of juke joints and churches, blues and gospel, individuality and family. Using the African-American paradigm of a Saturday night / Sunday morning people, I describe the Otha Turner Family Picnic, the last picnic to feature fife and drum band music, locating it and the music in-between the secular and sacred aspects of African-American life from both a musical and a social standpoint.
Date: May 2011
Creator: Vermilyea, Carl P.
System: The UNT Digital Library
The Influence of Renaissance Music in Ernst Krenek's Lamentatio Jeremiae Prophetae (open access)

The Influence of Renaissance Music in Ernst Krenek's Lamentatio Jeremiae Prophetae

Lamentatio Jeremiae Prophetae, Opus 68, composed by Ernst Krenek in 1941, is a musical work that is difficult to analyze and classify due to its fusion of contrasting musical styles. The pervasive dissonance of the work shows its modern twelve-tone organization, yet other aspects more closely resemble the sacred music of the early Renaissance. Analysis of Lamentatio solely in terms of the atonal twelve-tone system belies the work's full complexity and range of expression. While the twelve-tone system is the basis for the organization of the work, Krenek radically modifies the system to allow for more possible combinations of tones through an innovative technique he calls "rotation." The primary objective of this study is to consider the influence of early Renaissance sacred music, particularly that of Johannes Ockeghem, on certain aspects of Lamentatio, including the text, pitch organization, form and structure, rhythm and meter, and expressive markings. The study reveals that though the pitch organization is based on the twelve-tone system, Krenek uses the increased flexibility granted by his rotation technique to create implications of the modal system of the Renaissance. In the other aspects considered, the music of Lamentatio also bears clear Renaissance influences. A thorough understanding of these …
Date: May 2011
Creator: Wirths, Jeremy R.
System: The UNT Digital Library
Helen Kotas (1916-200): A Female Pioneer in Major US Orchestras (open access)

Helen Kotas (1916-200): A Female Pioneer in Major US Orchestras

Helen Kotas was an accomplished musician and teacher who helped open the door for women in major US orchestras. In 1941 the Chicago Symphony hired its first female brass musician, principal hornist Helen Kotas. With that daring move, she became a pioneer for her gender in the major orchestras of North America. Despite her many contributions to the musical community, Kotas's life has not been researched and documented. This paper looks at Helen Kotas's career as well as a glimpse at her life and personality. In addition to documenting her life, this dissertation attempts to show at least a portion of Kotas's philosophy of teaching and horn playing. She was an accomplished horn soloist and studied the literature extensively. Kotas performed in the Chicago Civic Orchestra, the Woman's Symphony Orchestra, and Leopold Stokowski's All-American Youth Orchestra. Kotas was hired by Fritz Reiner as third horn of the Pittsburgh Symphony. When Frederick Stock, conductor of the Chicago Symphony Orchestra, heard that Helen Kotas was going to Pittsburgh, he insisted that she audition for the CSO. Kotas auditioned on the Concerto for Horn by Richard Strauss and the concertmaster said, "Hire her!" She performed as principal horn with the orchestra until Artur …
Date: May 2011
Creator: Thayer, Heather Leweise
System: The UNT Digital Library
The Fallow Ground: A Composition for Pierrot Ensemble with Percussion and Male Voice (open access)

The Fallow Ground: A Composition for Pierrot Ensemble with Percussion and Male Voice

The inspiration for The Fallow Ground is the time period of the Second Great Awakening (1790-1840s) and, in particular, the life and impact of one of the period's central figures: Charles Grandison Finney. Finney was a lawyer-turned-evangelist whose preaching style led to explosive and emotional conversions and helped spread the fire of revival throughout the state of New York and eventually throughout the country. In The Fallow Ground I have taken different events from Finney's life and the revivalist culture to create musical analogs that examine and critique the events within a twenty-first century musical aesthetic. Quotation and allusion of revival period hymns play a significant part in The Fallow Ground. Inspired by the works of Ives, Crumb, Ligeti, and Schnittke, quotation is used in this piece to develop or subvert the material, thus creating different contextual meanings from familiar material. In this way, the quotation not only alludes to an idea outside of the piece, but also casts a critical view of that idea by its placement in the context of the piece. Concerning the instrumentation, The Fallow Ground is written for what is commonly called the Pierrot ensemble (flute, clarinet, violin, cello, piano, and percussion) with male soloist. …
Date: May 2011
Creator: Thomas, Paul David
System: The UNT Digital Library
Mikrokosmos and 32 Piano Games: Introducing Contemporary Musical Language and Developing Piano Technique for the Beginning Student (open access)

Mikrokosmos and 32 Piano Games: Introducing Contemporary Musical Language and Developing Piano Technique for the Beginning Student

As new musical styles have emerged in the twentieth century with characteristic sounds, chords, forms, meters, and intervals, teachers need to broaden and re-define the way they introduce musical concepts to beginning piano students. The purpose of this study is to offer different instructional possibilities aside from conventional methods of teaching beginning pianists. This is accomplished through a comparison of the two different approaches of the Hungarian composer Béla Bartók and the American composer Ross Lee Finney. Bartók’s Mikrokosmos, a graded set of 153 pieces, and Finney's 32 Piano Games are examined through this paper.
Date: August 2011
Creator: Song, Hyun-Joo
System: The UNT Digital Library
A Pedagogical and Analytical Study of Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar (open access)

A Pedagogical and Analytical Study of Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar

Polymeter has been a relatively unexplored compositional technique of music of the Common Practice Period. Dušan Bogdanović’s Polyrhythmic and Polymetric Studies for Guitar is recognized in the guitar world as not only an important theoretical treatise, but also a benchmark for more advanced levels of improvisation. Currently, his treatise remains the best source for learning polymetric improvisation on the guitar. My personal contribution stems from the idea that multiple interpretations of thought processes and technical approaches are possible when learning to play polymeters on the guitar. The first section focuses on providing an alternative technical approach towards learning to play polymeters on the guitar by simplifying selected exercises in Bogdanović’s treatise from their original presentation, and demonstrating further possibilities as to how the exercises can be applied in a practical manner to improvisation. The second part reveals through analysis of the Concert Studies 1, 2, and 5 both his innovative improvisatory use of polymeter as a stylistic device, and his ties to traditional ideas of structure.
Date: May 2011
Creator: Morey, Michael J.
System: The UNT Digital Library
Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame (open access)

Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame

British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
Date: August 2011
Creator: LaBarr, Cameron Frederick
System: The UNT Digital Library
Luigi Rossi: Early Baroque Italian Cantatas for the Modern Singer, with Modern Editions of Selected Works (open access)

Luigi Rossi: Early Baroque Italian Cantatas for the Modern Singer, with Modern Editions of Selected Works

The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. …
Date: August 2011
Creator: Griffiths, Sarah Abigail
System: The UNT Digital Library
Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn (open access)

Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn

Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother. Chapter 2 discusses specific musical components of Galileo's Eyeglass, including form, musical quotations, motivic and thematic material, harmonic language, orchestration, and notation. Chapter 3 examines the principal philosophical themes behind the composition, including expressions of victory of a life well lived in spite of many obstacles. Part 2 contains the orchestral score.
Date: August 2011
Creator: Walls, Jay Alan
System: The UNT Digital Library
Orchestral Etudes: Repertoire-Specific Exercises for Double Bass (open access)

Orchestral Etudes: Repertoire-Specific Exercises for Double Bass

In this project, frequently required double bass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional double bass players and teachers currently and formerly employed by major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the double bass.
Date: August 2011
Creator: Unzicker, Jack Andrew
System: The UNT Digital Library